I recently listened to this score, after being absent from it for more than 15 years. I listened to it very much when it was fresh, and it was one of my favorite soundtracks. Now I think parts of it sound horribly dated, to the point of being cringe-worthy - I'm of course referring to some of the electronic elements. What do you think?

Sony in conjunction with its Sony Masterworks brand will be releasing very soon a new James Horner Tribute album possibly featuring many solo artists.
Here is the NEWS FLASH and some behind the scene samples featuring (Cocoon & Avatar) from Solo artist Tina Guo:
http://jameshorner-filmmusic.com/sony-prepares-album-tribute-james-horner/

http://buysoundtrax.stores.yahoo.net/hyorsobydond.html
SRP: $17.95
HYPERSPACE is a limited edition release of 1000 units.
FIRST 50 Copies will be autographed by composer Don Davis
LISTEN TO A SOUND CLIP FROM the score for HYPERSPACE
https://tinyurl.com/ybzl7437
Dragon’s Domain Records, distributed through buysoundtrax.com, presents the long out-of-print orchestral score to HYPERSPACE, composed by Don Davis. One of the first feature length STAR WARS parodies, HYPERSPACE came out in 1984. Known in England as GREMLOIDS and as GREMLORDS in France and Germany, HYPERSPACE was writer/director Todd Durham’s second and last film as director, working with ambitiously cost-conscious low-budget producer Earl Owensby. The movie was released in September 1984, but it wasn’t until 1988 that the film received a wider release on home video.
Starring comedians Chris Elliott and Paula Poundstone and filmed in North Carolina, HYPERSPACE imitates STAR WARS in context and execution from its opening text crawl into infinity to its inscrutable helmeted monarch of menace, Lord Buckethead (played by Robert Bloodworth, but voiced by Barry Cooper). Lord Buckethead is hot on the trail of vital radio transmissions stolen from the corrupt Galactic Alliance by members of an allied resistance force. Buckethead intends to get them back, aided by diminutive, Jawa-robed minions known as gremloids. However, unbeknownst to him, he has made a serious navigational error, and rather than reaching his intended destination he lands instead upon the Earth, where he and his gremloid faction march into the closest small town and proceed with their mission.
A purposefully STAR WARS-esque orchestral score was provided by newly-minted composer Don Davis, in his first feature film score. Performed by a live, 56-piece orchestra, Davis’s music provided the film with its missing gravitas; and it made enough of an impression among Hollywood film music folk that it led to a lasting and respectful career scoring films and television, including TV’s BEAUTY AND THE BEAST and SEAQUEST DSV and blockbuster films like THE MATRIX series and JURASSIC PARK III.
“Obviously the movie was a parody of STAR WARS, so the only approach to music I could logically take was similarly a parody of John Williams’s work,” said Davis in an exclusive new interview for the album notes. “I got as close to STAR WARS as I could get without it being STAR WARS.” Davis provided the right kind of feeling to the music which gave the score a suitably grandiose dynamic and aided in the film’s parodist nature.
The composer’s approach to supporting the film’s inherent humor was based on “not writing funny music,” but scoring the movie with absolute seriousness, thereby allowing the parody to exist within the film and among its characters in a world where even the most farcical of circumstances are treated with genuine integrity. “The concept of playing it straight, as if the show were not a comedy, was what we wanted to do with our movie,” said Davis. “We treated it as if it really was STAR WARS and everything was completely serious.”
The film came and went without much ado or remembrance, but the music was noticed and that gave Davis an auspicious debut in this, his first opportunity to make the jump into… HYPERSPACE.
The score was first released on an 11-track CD in 1993, paired with another Davis score. This expanded reissue from Dragon’s Domain Records includes eight previously-unreleased tracks. HYPERSPACE is a limited edition release of 1000 units and can be ordered at www.buysoundtrax.com. The first 50 units sold through the Buy Soundtrax website will include a booklet autographed by the composer.
Ships the week of January 3rd.
01 HYPERSPACE Main Title/Pin Head 2:22
02 Meet The Mutants/Real Live Munchkins/
Dad’s Gland/ Basement Snoids 4:23
03 Alien Enzyme 2:00
04 Buckethead’s Promenade 2:01
05 Swamp Dog/Mister Ugly/
March of the Carrot People/Wild Bill Schwartz/Avoid the Droid/My Favorite Mutant 5:11
06 One Step Forward 0:56
07 Tree Trek 1:21
08 Old MacDonald Had a Farm Dirge 2:26
09 Neurotic Karen/Mutants in Bondage/Terminate
The Princess/Zapping Aliens 2:01
10 Ship Witch/Life in Gland Land/Laser Trail 3:04
11 Just Browsing/After the Brain Drain 4:55
12 Max’s Coronary/Let’s Zap Ed/See You Laser 1:09
13 There She Is 0:45
14 Ding Dong Daddy 1:16
15 Max Incognito/Humanoids From Pacoima 4:27
16 Rugburn/Boiled Snoids 1:49
17 Imbeciles From Uranus 1:06
18 Droid McNoid/Buckethead’s Remorse 4:00
19 HYPERSPACE End Credits 3:24
Total Time: 48:31

I was thinking about the famous "I'm flying" scene from Titanic and, in particular, the precise moment where the music reaches its emotional climax. On paper, you might expect the score to swell at the moment Jack and Rose kiss, but it actually reaches its emotional peak a few seconds later when Rose reaches up her hand to hold Jack's head closer. The moment becomes a lot more sensual and somehow more romantic as a result. I realise this is just intelligent, intuitive film scoring, but the timing of these things always fascinates me.
(2:09)
Another example off the top of my head is the final scene in Home Alone when Kevin and Old Man Marley share their moment through the window. One could score it so the music swells when Marley raises his hand in greeting, but Williams holds it for that little moment longer until Kevin returns the gesture, when both characters have completed their arcs with regards to each other. This video below actually has the alternate “O Holy Night” version of the cue too, and you can see the emotional journey is exactly the same in both pieces of music.
(00:47)
I’m curious to know if you can think of any other examples like this. Moments where the music could reach an emotional peak at one moment, but actually climaxes at another for a stronger emotional impact.

Hello,
Im looking for the full orchestral score notation for the cue The River Crossing to Stalingrad from the film Enemy at the Gates by James Horner. Does anybody have a copy of this that they can send me or know where i may find a copy?
Thanks
Adam

According to Film Score Monthly, Simon Franglen is recording his score for Antoine Fuqua's The Magnificent Seven, based on themes by the late James Horner. Franglen worked with Horner on several films as arranger, score producer and synth programmer for The Amazing Spider-Man, Avatar, The Karate Kid, Wolf Totem and The 33.
http://filmmusicreporter.com/2016/03/11/simon-franglen-scoring-antoine-fuquas-the-magnificent-seven/
This should be an interesting score to watch when it comes out fall 2016.

Samples & Direct Order from Label: http://store.intrada.com/s.nl/it.A/id.10318/.f
Other places to order:
http://www1.screenarchives.com/title_detail.cfm/ID/31923/
http://www.moviemusic.com/soundtrack/M10531/rocketeer-complete/
Original main post:
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This is Roger's clue for the title that Intrada is putting up for sale on Monday evening (around 4-5pm PST)
http://www.intrada.net/phpBB2/viewtopic.php?f=12&t=7124
Could it be???

youtube]YouTube video URL here[/youtube]
Pianist Dan Redfeld performs an excerpt from the theme to "The Rocketeer" for an upcoming compilation of James Horner themes arranged for solo piano. Available late 2016 from BSX Records.

Later this year BSX RECORDS will be releasing a new album from Artist Dan Redfeld which will feature a new solo piano arrangement of James Horner's theme for STAR TREK II: THE WRATH OF KHAN.
This is video is from the recording session for this piece that was just done and we'd just like to share it with you
Enjoy
Ford A. Thaxton

As I was considering the logistics of the Top 10 Horner Scores poll, I started thinking . . . while we're at it, why not dig a little deeper? We never did this one for JW, but Mr. Horner is a little more on everyone's mind right now, and a lot of us are spending some quality time digging deeper into the man's opuses anyway. I thought it would be interesting to see not only how his broader works compared to one another, but which individual compositions floated near the top in people's minds. There may be scores that don't make the other Top 10 list that have single pieces that would stand out to a lot of people here. The rules are pretty much the same here as on the other poll (post your list from mostest-favorite on down), with one extra guideline to keep in mind: what with so many different versions of some scores available out there, it would be best--though not absolutely required, I guess--to stick to OST titles and arrangements where possible. If a piece you want to list wasn't on the OST but did appear in a later release, that's fine, of course; but the point here isn't to see how various versions of the same piece compete against one another. If you like one portion of a piece but don't care for the rest, it should still be listed by the title of the entire piece, not as "the second half of 'Bird of Prey Decloaks' from 1:43 on" and the like. Naturally, commentary on these is also welcome and encouraged--and makes for a much better place to specify which parts of the piece you like best, along with the whens and whys of it. I'll publish the results of this poll at the same time as the other one (whenever that winds up being). And, like the other one . . . I haven't yet had time to sort through my own choices yet, but that's no reason to put off everyone else's tee time.

Is there a Thread about the music of "The Land Before Time" Series from James Horner and Michael Tavera?
James Horner composed the score for the first movie in 1988. I love this music!
The music for all the sequels of The Land Before Time was composed by Michael Tavera. And I found the music on youtube.
I like the sound of Tavera's music and I think he made a good job in this films.
So what do you think about the music of "The Land Before Time" Series?
Original Soundtrack (by James Horner):
Sequel Soundtrack (by Michael Tavera):

His fourth of five 2015 scores, after One Day In Auschwitz, Living In The Age of Airplanes, and Wolf Totem, and to be followed by The 33. OST CD coming Monday July 27th in the UK - probably Tuesday July 28 in the US, but its not on Amazon US yet. http://www.amazon.co.uk/dp/B00X0WIU2A http://www.amazon.co.jp/dp/B00X0WIU2A

Someone in the "memorial" thread suggested we do our JWFan patented Top 10 poll for Mr. Horner, the same one we've done for Mr. Williams twice. No one else has volunteered yet to spearhead the project, and since I was always disappointed I couldn't put together the Film Composers' World Cup, I might as well be the one to kick things off on this. The process should be familiar enough by now: Post your ten favorite James Horner scores (or the ones you consider his best) in order, starting with your favorite first, second favorite next, etc. You can number them if you like; if you don't, I'll assume the order you place them in is how you want them scored. That's pretty much it. If you can't come up with ten you've heard, list as many as you know and like; the top spot will still be given the same score as anyone else's. We'll run this for a week or two. I'll try to keep up with the tabulation, so it doesn't take too long after time has been called to publish the results. (I haven't given deep thought to my own list yet, but I figured there's no reason not to let everyone start compiling their own.) One more thing: you're welcome to just post a list of titles if you'd like, but feel free to add some commentary on why you've chosen any or all of your scores, why you've ordered them the way you have, or even just how you react to the music when you hear it. It would make another nice memoriam for the man if we expanded on how each of us reached our conclusions.